THE X-FILES: Transformations

a teleplay by Abbie Anderson (amanders@att.net)
Originally completed late July, 1994; last revision 8/18/99

My version of what the 2nd-season premiere might have been (imagined before the actual 2nd season aired), coping with the shutting-down of the X-Files office and with Gillian Anderson's pregnancy. First entry in a three-episode outline intended to carry the show past the birth of Ms. Anderson's real-life child.

Summary: Scully is abducted by operatives of the shadow-government, and implanted with a human-alien hybrid fetus. (Much of this no longer works well in light of subsequent character developments on the show; if you choose to read this one, please keep in mind when it was written, and why).

Disclaimer: The universe of The X-Files and the characters therein are the intellectual property of Chris Carter, Fox Television, and Ten-Thirteen Productions, and have been used without permission. No copyright infringement is intended; I'm just having a good time. If you like what I've done, feel free to share it, but of course do give me credit for it and provide the sharees with my e-mail address. If it provokes a reaction, positive or negative, please let me know. Constructive criticism especially welcome.

Notes re: conventions of teleplay format:
"INT"="interior" (i.e., a scene set indoors)
"EXT"="exterior"
"V.O."="voice-over" (i.e., the line is not spoken by a character in the scene, but is heard superimposed on the action--as in a narrator's voice, a voice on the telephone, or when we "eavesdrop" on a character's thoughts)

I have not fully conformed with teleplay format standards (for instance, character's names in "stage directions" are not in all-caps; sound effects and special effects are not marked, for the most part), nor am I good with camera angles or other technical aspects that ought to be in a serious teleplay. I'm definitely an amateur, here, and it shows.

TEASER

FADE IN:
1. INT: X-FILES OFFICE
CLOSE-UP on Mulder's "I Want to Believe" poster, as he is taking it off the wall.

MULDER
I almost want to leave it there, but they'd probably just throw it away.

He carefully rolls the poster up and adds it to a box on the desk next to him. Scully is across the room, packing up her things as well.

SCULLY
I can't stand this, Mulder. I've been reassigned to the Buffalo office. I hate Buffalo.

MULDER
They're keeping me here in Washington. They haven't told me what I'll be doing yet, though--probably scrubbing the toilets. It might not be such a bad idea. I have seriously considered quitting the Bureau and taking up the arcane art of plumbing.

SCULLY
I don't believe you, Mulder. Everything you care about is in this room, and you're packing it in like it's just winter storage.

He looks at her: she's in this room, too, under the heading, "Everything you care about".

MULDER
I knew it couldn't last forever. It was just a matter of time before I got shut down, either because I got too close to something or because somebody decided I was just too spooky.

Scully rummages somewhat violently through a drawer.

SCULLY
We can't just let them do this. I'm not going to sit here and watch them take apart everything you've worked for. You're good at this, Mulder, and they're treating you like last week's garbage.

MULDER
What I'm good at is UFO's and spirit transmigration and human mutants, Scully. (pause) Believe me, every door I've tried is locked. They might reconsider your assignment, but we're not getting the X-Files back.

Scully doesn't reply as she puts the last of her things in a box.

SCULLY (soberly)
I guess this is it, Sherlock.

She comes up to him, putting out her hand; he takes it, then says "C'm'ere" and takes her in a friend's hug.

SCULLY
I'm going to miss you, Mulder.

She steps back, out of the hug.

SCULLY
It's been fun.

MULDER
You're not so bad yourself, Starbuck.

She bites her lip and looks away, fighting tears.

SCULLY
I'd better go.

She goes and picks up her box.

MULDER
Call me, OK?

She nods, not trusting her voice, and goes out.

CUT TO:
2. INT: MULDER'S APARTMENT, EVENING
It is dark in the apartment, and the TV is not on; looking from the rear of the living room at an angle without a view of the sofa, we don't see anyone there. The phone rings, and Mulder's answering machine picks up the call. It's Scully; her voice sounds strained and subdued.

SCULLY (V.O.)
Mulder, it's me. You said to call, so here I am. (pause) Maybe I'll try getting hold of you later.

Mulder sits up (he had been sprawled on the sofa where we couldn't see him) and grabs the phone.

MULDER
Hold up, Scully, I'm here. (pause) How are you doing?

SCULLY (V.O.)
Furious. And you?

MULDER
I'll be OK. I'm just sorry you had to get hurt in this, too.

SCULLY (V.O.)
Don't worry about me.

MULDER
Scully, it's not your fight.

SCULLY (V.O.)
It's a little late to tell me that, Mulder. Think about it . You were deliberately exposed to a toxic substance and held untreated by some secret branch of our own government, and a man I didn't trust lost his life because he tried to help us, to get you out of danger. Mulder, I saw it, I held it in my hands, I carried it around town in a box! And somebody was willing to kill to keep what was in that box a secret. I could be putting both of us in danger by talking about this on the phone, and do you know something? I don't care any more. I don't even know why we're both still alive, much less still employed by the FBI. And you say it's not my fight?!

Mulder doesn't have an answer for that one.

FADE TO:
3. INT: SCULLY'S CAR, NIGHT
It's raining. Scully approaches what looks like an accident, and is flagged down. A large truck marked "Lonely Star Shipping" is blocking the lane, angled part-way over the margin. She pulls over.

CUT TO:
4. EXT: ROADSIDE AT SCULLY'S CAR, NIGHT
Scully rolls down her window as a man approaches her car. Then she recognizes the man: it's the sinister man who held Mulder captive and shot Deep Throat in "The Erlenmeyer Flask". Before she can do anything, he casually has a small pistol at her head.

SINISTER MAN
Good evening, Agent Scully. Congratulations: you've just received a very special assignment.

He brings a chloroform pad to her face; she struggles a moment and loses consciousness. The man steps back and gestures to some men behind him.

SINISTER MAN
All right. Get her into the truck.

When they've gotten her body out, he reaches into the car, takes her keys out of the ignition and pockets them, turning away in the rain.

CUT TO:
5. INT: DARKENED LABORATORY OR HOSPITAL ROOM
Scully, on a gurney, becomes conscious (we witness this scene from her point of view). On her right is a tank filled with a pink liquid, holding a somewhat humanized version of the fetus she retrieved in "The Erlenmeyer Flask". Someone steps into her field of vision--someone with large, slanted dark eyes and an expressionless, gray inhuman face. A long-fingered hand covers her eyes, and she blacks out.

FADE OUT.

ACT ONE

FADE IN:
6. INT: A LIVING ROOM
Scully is curled up in a chair with a lamp behind her, reading. Mulder comes up behind her on her left. He leans down and kisses her on the neck as if this is a normal thing for him to do; she smiles, lifts her left hand to touch his face, and turns to kiss him. There are engagement and wedding rings on her hand. He reaches around her with his left hand, which also bears a wedding band, and caresses her stomach.

MULDER
How's my favorite double agent?

She heaves out of the chair, and we can see how pregnant she is. She comes around the chair a little awkwardly, heading past him.

SCULLY
Waddling along just fine, Daddy.

Mulder stops her and puts his arms around her.

MULDER
Hey, where are you going? I'm not finished with you yet, Mrs. Mulder.

He gives her a lingering kiss. Scully pulls back, pleased but teasing, and pointedly eyes her tummy.

SCULLY
Don't you think you've done enough?

He smiles at her, and caresses her face.

MULDER
Not nearly enough.

Another big kiss.

DISSOLVE TO:
7. INT: HOSPITAL ROOM
Scully is in a hospital bed, waking up from a dream. [The previous dream sequence was what I wrote when I was trying to think of the worst possible thing they could do to us with Gillian Anderson's pregnancy!] As in the dream, she is clearly pregnant. Mulder is sitting next to the bed, watching her. Not a wedding ring in sight. Scully stirs and opens her eyes; Mulder leans over and puts a hand on her shoulder.

MULDER
Hey, welcome back.

She's still waking up.

SCULLY
Hi. I was just dreaming about you.

MULDER
Was it a nice dream?

SCULLY
Yeah, really nice.

She hears what she's just said, and starts trying to deflect it.

SCULLY
I think.

She carefully sits up, hoping he won't press her for details.

SCULLY
Any test results yet?

MULDER
You don't want to know.

Scully is fully awake now.

SCULLY
Try me.

Pause.

MULDER
OK. Wherever you've been for the last three weeks, somebody's been taking pretty good care of you. They say you're in great shape for a lady in her third trimester.

MULDER
The chemistry's a little off. They don't know anything for sure yet, or if they do they won't tell me. But it's not yours. Wherever this fetus came from, it does not have your DNA.

SCULLY
Whose DNA is it, Mulder? Do they know? I want to see the reports.

MULDER
Scully, are you asking me if it's human?

SCULLY
I have to know, Mulder. Who else can I trust to tell me the truth?

Pause.

MULDER
There are some anomalies. Nobody's willing to say anything definite. In fact, nobody's willing to say much at all. I'm not even supposed to be in here with you, except the nurse felt sorry for me. There's a security order on this wing, but I don't think the nurses know anything. (smile) She seems to think I'm the father.

SCULLY
In your dreams, Mulder.

MULDER
What about in yours?

Pause: no comment.

SCULLY
Thanks for staying with me.

MULDER
No problem. As wierd as this is, it still beats not knowing where you were. You just disappeared for three weeks, remember?

SCULLY
That's the problem, I don't remember. Last thing I knew, I was driving home from my nephew's school play. It all goes blank some time after I stopped for gas on the way back. I need to hear it again, Mulder. What happened?

MULDER
When you didn't show up at the Bureau after the weekend and you weren't answering your calls, and your family didn't know where you were, we put out an APB. Nothing. Orders came down from somewhere not to initiate a search. I kept trying anyway, but there was no trace. Then two days ago I got an envelope in my mailbox with your keys in it. There was a note instructing me to pick you up at a warehouse downtown and bring you here, where everything was waiting for you. No threats, no bargains, no explanation: I was given an order, and that was it.

SCULLY (thoughtful)
All I remember is waking up in the warehouse, alone with my new tummy. I had an envelope, too. My note said, "Wait here. you are in no danger at this time. A friend is coming for you." So I waited. And then you came.

She hesitates a moment, then leans over and reaches into her bedside drawer.

SCULLY
Take a look at this.

She hands Mulder an official-looking letter.

SCULLY
They say they sent one of these to my mother. If that's true, at least she won't be worrying so much.

Mulder quickly looks it over.

MULDER
It says you've been sent away on a high-security assignment and will be inaccessible for the next two to three months.

SCULLY
It says I'm of great value to the FBI, too. Look who signed it.

MULDER
Skinner.

SCULLY
I doubt he knows what's happened. This is probably the story they told him. (pause) Mulder, who do you think did this?

SCULLY
Get me something I can study. I can't just sit here watching TV all day with nothing else to think about. I'm not a big soap opera fan. Maybe you can bring me some of those cases you're working on. I wouldn't mind reading your reports. (pause) I'm going to hate not working.

MULDER
Try to think of it as a free vacation. At least you don't have to go to Buffalo for a while.

SCULLY
This is no vacation, Mulder. I'm having someone's idea of a baby, and God knows what they're planning to do with it--or me. Or you.

MULDER
Do you get the feeling somebody's trying to tell us something?

SCULLY (grim)
The signal is coming in loud and clear: they can do anything to us they want to.

Reaction.

FADE TO:
8. INT: MULDER'S APARTMENT, NIGHT
The lights are out, and the TV is on (we may not want to know what's showing). A window is open. Mulder, wearing dark clothes, climbs carefully out of the window and goes down the fire escape.

CUT TO:
9. EXT: ALLEY OUTSIDE MULDER'S APARTMENT, NIGHT
Mulder falls softly to his feet from the fire escape, and straightens up in the shadows. He looks up the alley at the nose of a surveillance car out on the street, and goes off on foot in the opposite direction.

CUT TO:
10. EXT: A WAREHOUSE, NIGHT
Mulder cases the place, then breaks in a side window that he forces open (this is a really stupid thing for him to be doing--and entirely typical).

CUT TO:
11. INT: WAREHOUSE OFFICE
In the darkened office Mulder looks through a set of files with a penlight. The paperwork is on "Lonely Star Shipping" letterhead, and shows a series of dates, loads, clients, and destinations. Mulder runs a gloved finger down the list of dates, pausing at two of them roughly three weeks apart: Scully's disappearance and reappearance. This is too easy, and Mulder knows it. He shuts the folder and puts it away.

FADE TO:
12. INT: FBI PARKING GARAGE, EVENING
Mulder approaches his car, gets in and drives away. After a brief interval, another car with two men in it pulls out and follows him.

CUT TO:
13. INT: MULDER'S CAR
Mulder knows he's being followed, and decides to take his tail for a ride.

CUT TO:
14. EXT: DOWNTOWN STREETS
After driving a while Mulder ends up off downtown, in an area of semi-seedy clubs and bars. Miraculously, he finds a street parking space (it always helps to have the writer on your side) and pulls into it. The car following him has to turn the corner, and lets an agent out to follow Mulder on foot.

CUT TO:
15. EXT: DOWNTOWN SIDEWALK
The tail is still on him as Mulder approaches a gay bar with a big neon sign featuring a male torso in a sleeveless shirt: "Muscle T's". Mulder ducks in. A gay couple comes out arm in arm; the tail hesitates, looks around nervously and then enters the bar.

CUT TO:
16. INT: MUSCLE T'S
The tail enters. Mulder is sitting at the bar, getting friendly with an elegant black transvestite. The crowd is lively, and the sound system is blaring "Real". The tail can't take it, and goes to wait outside.

CUT TO:
18. INT: MUCLE T'S
Mulder takes a mug of beer the bartender has just handed him, and turns to the transvestite.

MULDER
Thanks. I owe you one.

TRANSVESTITE
My pleasure: don't mention it.

The transvestite eyes Mulder appreciatively as he goes over to a pay phone, sets his beer down, feeds the phone a quarter and punches in a number.

LANGLY (V.O.)
Lone Gunman.

MULDER
It's Mulder. I need your help.

LANGLY (V.O.)
Where are you calling from, man? Sounds like a party going on.

MULDER
I didn't want to be overheard. Listen, I need you to look into a company called Lonely Star Shipping for me. I'm on a short leash at work and I can't do it myself. I found some paperwork that's got to be bogus, but I'm pretty sure there are some major clandestine government connections underneath the crap. Are you interested?

LANGLY (V.O.)
Maybe. What's in it for us?

MULDER
My undying gratitude. And the scoop of your life if I'm right.

LANGLY (V.O.)
You washed out on us last time, Mulder. There wouldn't be any E.B.E.'s lurking about again, would there?

MULDER
Maybe.

LANGLY (V.O.)
What about that skeptical partner of yours? What does she think about all this?

CUT TO:
20. INT: SCULLY'S LIVING ROOM
Mulder is at Scully's stereo, picking up her walkman and selecting some tapes; CUT TO Mulder scooping a stack of research journals (Journal of the American Medical Association, Nature, Science, etc.) off of her coffee table and putting them in the box.

CUT TO:
21. INT: SCULLY'S BEDROOM
Quick shots of Mulder going through Scully's closet, taking a couple things out, ditto at her drawers; then CUT TO him zipping up the duffle, which is sitting next to the box on her bed. A set of pictures on Scully's dresser catches his eye. One is of Scully and Jack (her former lover and instructor at the Academy, who died in "Lazarus"), Jack standing behind her with his arms around her; a black ribbon is draped over the frame. Next to it stands a multi-picture frame with several family snapshots: her father in uniform; Scully as a little girl, riding a horse or pony; Scully standing next to her mother in a graduation cap and gown; her brothers' wedding pictures; a picture of Scully holding a baby (her godson Trent), with the subtitle, "Godmama Dana, 2/8/88". HOLD on that picture as in the background Mulder picks up the bag and box, and leaves.

FADE OUT.

ACT TWO

FADE IN:
22. INT: HOSPITAL CORRIDOR
Sculy is walking int he hallway towards the double doors to the wing, where two guards stand watch. She is wearing off-green hospital scrubs. The doors open and Mulder comes in, carrying the bag and box he packed in Scully's apartment, and wearing a Visitor's badge. She smiles at seeing him, and they come together without making a formal greeting.

MULDER
How'd you escape?

Scully turns around, and they start walking together back down the hall.

SCULLY
I didn't. I told them if I didn't get out of that room they'd have to either sedate me or replace some furniture. They're letting me pace the halls, so long as I don't talk to anyone. I have a little bit of clout, since the well-being of this (she puts a hand on her belly) depends on me. I'm not sure how far it goes. How'd you get in?

She glances back at the guards. Mulder lifts the bag.

MULDER
I come bearing gifts. They've been searched, of course.

SCULLY
Of course.

They have come to her room, where a security officer stands at the door. Mulder holds up his clearance badge, and the officer opens the door for them.

A table with two chairs stands to one side; Mulder goes over and sets down the bag and box on the table, and they both sit down.

SCULLY
So, what did you bring me?

MULDER
Take a look.

She opens the bag and looks through the clothes.

MULDER
I thought you might feel more human if you had some of your own things.

"Human" hits a little close to home, but it's for the benefit of listeners as well.

SCULLY
I'm not sure how I feel about you going through my underwear drawer, but thanks.

MULDER
Don't worry; nothing of yours fits me.

SCULLY
It probably doesn't fit me any more, either. Somehow I don't think they're going to let me go shopping for maternity clothes. The thought of you in lingerie is pretty intriguing, though.

MULDER
Don't you think I'd look great in a little red teddy, with some black lace on it?

No comment. She turns to the book box, and draws out the walkman and some tapes with genuine pleasure.

SCULLY
Oh, great, thanks! They let these through?

MULDER
Yup. I guess they figured Aretha Franklin is no immediate threat to the Republic. Oh, and I brought you one of mine--you'll have to tell me what you think.

He takes a tape out of the pile, and hands it to her with a significant look.

SCULLY
"The Dead Kennedys". Why am I not surprised this is something you'd listen to?

MULDER
If you like it I can bring you another one next time.

Scully gets the hint: special message enclosed.

SCULLY
OK, I'll let you know.

She digs in the box, brings out a few books and looks through them.

SCULLY
Winnie the Pooh, Mulder?

MULDER
Hey, don't knock Pooh. He's a bear of very little brain, but he's got a lot of heart. Read the one about Heffalumps and Woozles: it's a classic.

SCULLY
OK, Mulder, whatever you say.

Scully sets the books aside, reaches into the box again and pulls out the stack of research journals.

SCULLY
This is better. I've been meaning to catch up on my JAMAs.

MULDER
See, being stuck here isn't so bad.

SCULLY
I wouldn't go that far.

She tips the box over to get out the last items: three hardbound notebooks, one spiral-bound writing pad, a pack of pens and pencils, and a flashlight.

SCULLY
What's the flashlight for?

MULDER
In case you want to read under the covers.

He gives a slight glance in the direction of the surveillance camera.

MULDER
Heck, if you're gonna have a kid, you might as well get to be a kid, too.

SCULLY
Hm. I'll consider it.

She picks up the hardbound notebooks.

SCULLY
What are these?

MULDER
You asked to see my reports. I couldn't bring you any current Bureau paperwork, but I still have my old case journals. My notes.

SCULLY
Your journals, Mulder? Are you sure you want me to read these?

MULDER
I doubt there's anything in there you don't already know. Most of it's from before your time, anyway. The first one's even from before the X-Files.

Scully weighs the significance of this gift.

SCULLY
I hope I can read your handwriting.

MULDER
The blank one is for you. In case you want to put some thoughts on paper.

SCULLY
Thanks, Mulder. This means a lot.

Pause.

MULDER
How are you doing? Are they treating you all right?

Scully glances at the camera.

SCULLY
Fine, considering I can't leave and I've got my anonymous friends on the wall. My chart looks OK; they won't let me see any other reports, and of course the doctor won't talk to me. They must have done something pretty radical to keep my body from rejecting the foreign tissue. The nurse doesn't collapse when she takes my blood samples, so at least they haven't gone that far. (pause) They had me on a treadmill and a weight machine this morning. Whatever else they have in mind for me, they want to keep me in shape.

She looks away from him.

SCULLY
I've been having some pretty interesing dreams.

MULDER
You should try writing them down: we might learn something.

SCULLY
Like what, that I'm in serious need of professional help?

MULDER
That much we knew already. You're here, aren't you?

Scully pushes out of her chair and picks up the bag.

SCULLY
I'm going to go change into my own things. I haven't found a camera in the bathroom yet. One of these days I'm going to break down and do a strip-tease for the bastards, and it's not going to be pretty.

MULDER
I don't know about that.

SCULLY
Shut up, Mulder.

Her voice is surprisingly gentle under the harsh words, and she gives him a sad smile before moving away.

FADE TO:
24. INT: SCULLY'S HOSPITAL ROOM
Scully is sitting in bed with the walkman, listening to Mulder's tape. She is wearing some of the clothes Mulder brought her, and a gold pendant. Suddenly the music cuts out, and now it's Mulder's voice, against a lot of background noise (he made the tape at Muscle T's; we can hear "It's Raining Men" in the background).

MULDER (V.O., TAPE)
Sorry to stop the show, but this is the only way I can talk to you. I hope you can hear me OK; I'm having to take some extreme precautions. You'd love what I did to ditch a tail tonight. (pause) Scully, I'm going to find out who did this to you, and if we're really lucky we'll find out why. I went back to that warehouse last night, and found some papers for a company called Lonely Star Shiping. I'm sure the records I saw are at least partly fake, but I think there's something genuine behind it. A wise man once said that the most effective lie is the one that comes between two truths. I can't do much investigation on my own; they keep a heavy thumb on me at the Bureau, and I'm under surveillance the rest of the time. So I called our friends at Lone Gunman. Their brand of paranoia could come in handy right now. They're onto Lonely Star for us, and if there's even a faint efflorescence of government activity around you can be sure they'll sniff it out. (pause) Did you find the jewelry I put in your bag? I've been told that on a bad day it helps if you can feel a little pretty.

Scully smiles and fingers the pendant.

MULDER (V.O., TAPE)
Dana, I don't know if it will help you to hear this right now, but you're one of the more beautiful people I know. Not to mention that incisive scientific mind of yours, or the fact that you're probably the only person who has ever really believed in me, in spite of everything I do to make that difficult. (pause) This tape should probably have an accident before you go to sleep or leave the room. We wouldn't want the Dead Kennedys to fall into the wrong hands.

Scully lets the tape continue to roll as she uneasily considers what she has just heard.

ACT THREE

The two men sits down. Skinner taps a small stack of folders on his desk: Mulder's recent case reviews.

SKINNER
I've read your reports, Mulder, and your work is up to your usual standards. Good, incisive analysis. We look forward to having you back on active duty.

MULDER
I look forward to being there, sir.

SKINNER
I'm sure you're aware that this is a probationary period for you. Normally what you do on your own time is of only cursory interest to the FBI, but lately we've had some concerns. You are under direct orders to refrain from any investigatory activity that is not specifically related to assigned cases. Is that understood?

MULDER
Yes, sir, of course it is.

Mulder stands up.

MULDER
May I get back to my paperwork now, sir?

SKINNER
You are a valuable agent, Mulder. I would hate to see you leave the Bureau under adverse conditions.

MULDER (quietly belligerent)
What about Agent Scully? How "valuable" is she?

SKINNER
I am not at liberty to comment on the status of Agent Scully at this time.

MULDER
You don't know, do you? What story have they fed you?

SKINNER
That's enough, Mulder! (pointed pause) I understand your feelings about your partner, but you are a man who needs to be more careful.

MULDER
I'm sure you're right, sir.

Mulder goes out.

CUT TO:
26. INT: SCULLY'S HOSPITAL ROOM, NIGHT
Scully is in bed; the ceiling lights are out, but her bedside light still on. The flashlight Mulder gave her is sitting on her bedside table. She picks up the flashlight, turns it on, switches off the bedside light and goes under the covers with the flashlight. After a moment she comes out from under the covers.

SCULLY
I'm reading Winnie the Pooh under the covers. Does anybody have a problem with that?

She ducks back under the covers, and from the outside we can see she has picked up the flashlight and is holding it to read. After a minute she starts to giggle.

FADE TO:
27. EXT: MEADOW (DREAM)
Mulder and Scully are walking with their arms around each other through a field of wildflowers, drenched in golden sunshine, laughing together. The scene changes--

DISSOLVE TO:
28. INT: LIVING ROOM (DREAM)
Now Sculy is inside a sunny living room. Mulder comes up behind her and puts his hands over her eyes. Scully turns, and again the scene changes--

CUT TO:
29. INT: FEATURELESS ROOM (DREAM)
Scully is in a dark, empty space, and it's not Mulder with her now: it's the gray alien she saw in Scene 4, cradling a baby in its arms. It speaks to her with Mulder's voice as it hands the infant to her:

ALIEN
I want you not to be afraid. The child needs you.

Scully takes the baby and looks down at it; it seems perfectly normal, and reaches up a tiny hand toward her face. She looks back up and the alien has become Mulder again, standing there smiling at her. He steps close and offers the baby a finger, which of course the infant takes in a firm baby-grip. The scene shifts again:

DISSOLVE TO:
30. INT: LIVING ROOM (DREAM)
Mulder still stands close to Scully, his finger in the baby's hand. Scully looks up into his face, and he leans down to kiss her.

MULDER
I'm so glad we did this.

FADE TO:
31. INT: SCULLY'S HOSPITAL ROOM, NIGHT
Scully wakes up, a little dazed. She reaches to switch on her bedside light, pulls her notebook out from under the covers, and starts to write down the dream.

FADE TO:
32. EXT: PARK IN WASHINGTON, D.C., NIGHT
Langly of the Lone Gunmen is sitting on one side of a back-to-back double bench, holding a backpack in his lap. He has a radio on the bench next to him, playing some good voice-covering "white noise" music (probably low-grade heavy metal). Mulder comes up to the other side of the bench and sits down with his back to Langly and a little to the side, so that they can talk.

MULDER
I don't think I was followed. What have you got?

LANGLY
Jackpot. Lonely Star manages a branch of the military's high-security shipping, mostly through phony subcontracting fronts. They do connections between military bases and different research centers, both military and civilian. This is where it gets wierd. Lonely Star was established late in 1947, and originally had a New Mexico registry. That lands it suspiciously close to the Roswell incident, Mulder: it's right up your alley. We came across some stuff and called MUFON, and it seems like just about everywhere a Lonely Star truck goes there are UFO sightings all over the place. Remember those i.d.'s we hacked for you a few months ago? Lonely Star was in charge of that truck you were following. And you've crossed lines with the folks who oversee their operations four other times in the past year, Mulder: you're not on their list of favorite people. Besides that E.B.E. thing, we found records of you last Fall at some top-secret Air Force base out West, then in Iowa, and then another time in Wisconsin, and again this Spring here in Washington. We couldn't find out what it was about, but you're in this pretty deep.

Mulder doesn't add any helpful details to Langly's list.

MULDER
Do you have anything for me in that backpack?

LANGLY
We have some photographs for show and tell. There's an organization we've been trying to finger for years, somewhere between the Pentagon and the CIA. We have a name for one of their head honchos, one John Hitchings, but we never could pin him to anything definite: all we had was the name and the foul stench. Mulder, his name is at the end of every Lonely Star paper trail for the last several years, and his authorization is on some deadly orders. He's got this deputy, a Richard Breyer, who does most of the dirty work for him. And he's in tight with the FBI, too, some kind of background advisor. I really hope you know what you're doing.

MULDER
I don't. That's why I called you.

LANGLY
Well, good luck, man. That's all I have to say.

Langly gets up, picks up his radio and walks away, leaving the backpack behind. After a moment Mulder reaches over and picks it up. He opens it, takes out a paper sack, and pulls out a picture: a telephoto shot of the Sinister Man (Richard Breyer) coming out of a building, with the Cigarette Smoking Man (John Hitchings) resting a hand on Breyer's shoulder. Behind HItchings stands Deep Throat, in profile. Mulder puts his hand over the picture and looks up, scanning for watchers.

FADE TO:
33. INT: SCULLY'S HOSPITAL ROOM, DAY
Scully is curled up on the bed asleep, a book lying face-down next to her. She is dreaming.

CUT TO:
34. INT: DREAMSCAPE
Scully is standing in the dark, featureless room; in front of her is an aquarium, where Mulder is standing with his back to her, sprinkling in fish food. Scully comes up closer and sees not fish in the tank, but the fetus again. Mulder turns around and smiles at her.

MULDER
He can't stay in there much longer. You're just in time.

Mulder puts his hands on Scully's stomach, and suddenly the fetus isn't in the aquarium any more, and Mulder has become the Alien Doctor again. Once more he speaks with Mulder's voice, the alien's long-fingered gray hands still resting on Scully's now-pregnant stomach.

ALIEN DOCTOR
Thank you, Dana. Be well.

He takes his hands away, and is Mulder again.

MULDER
I won't let them hurt you.

He turns and walks away down a long corridor. She starts to follow, calling his name. A man's hand abruptly clamps down on her shoulder. She turns and it is Breyer, the Sinister Man who abducted her.

BREYER
You're not going anywhere, Agent Scully. Not until I say so.

Scully turns again and sees Mulder, bound hand and foot and gagged, propped in an awkward sitting position in a corner, his eyes staring in a mix of anger, defiance and fear as he struggles uselessly against his bonds.

BREYER
And he can't help you 'til I say he can.

There is a rush of sound, like air filling a vacuum, as we CUT TO:
35. INT: SCULLY'S HOSPITAL ROOM, DAY
Scully startles awake from the dream, sitting up in bed--and sees Mulder sitting in a chair in the sunlight by the window, his head bowed.

SCULLY
Mulder?

He raises his head, and tears are streaming down his face.

MULDER
Dana . . . .

The door to the room starts to open, and Scully looks up to see who it is. The nurse enters. When Scully looks back toward the window, Mulder is gone. The nurse comes toward her with an apologetic expression.

NURSE
Time for some more blood samples, I'm afraid, hon. Somebody must think that baby of yours is awfully important to be putting you through so much.

The nurse notices Scully's distress following her dream--and "vision" of Mulder just now.

NURSE
Hey, are you all right? You look like you've seen a ghost or something.

SCULLY
I was dreaming . . . .

NURSE
You're some dreamer, that's for sure. I think it's sweet the way you call his name so much.

The nurse takes Scully's hand and swabs her fingertips with an alcohol pad, preparing to do a finger-stick.

NURSE
Here, this'll just prick a little. You ought to be used to it by now.

SCULLY
So I'm talking in my sleep? What do I say?

NURSE
Oh, not much. I try not to pay attention to things like that. Nothing to be ashamed of, don't worry.

The nurse smiles at her conspiratorially.

NURSE
I'll be sure he gets past Security, though, if he comes by on my shift.

Scully tries to return the smile.

CUT TO:
36. INT: SCULLY'S HOSPITAL ROOM, DAY
Scully is sitting at the table with her back to the camera, reading Mulder's journal.

MULDER (V.O.)
I think I've lucked out with this partner they've sent me. She may not be a spy after all--or not what they thought she'd be, anyway. She's really sharp; Dana Scully definitely has a mind of her own, in spite of her allegiance to scientific convention. She's curious, and "brave" only begins to describe the way she pursues the details of a case. I don't want to be on the wrong end of her temper too often, though. If my luck holds out maybe she'll think the truth is worth following, even if it takes you out there. It doesn't hurt that she's got eyes I wouldn't mind getting lost in, but that's not why I want her for my friend. I'll be really ticked if she decides I'm crazy and gets me shut down with her reports. I hope she sticks around a while.

Scully closes the book, smiling a little and shaking her head, and looks out the window. Unthinking, she brings a hand to her belly.

FADE TO:
37. INT: OFFICE
Hitchings is sitting down at a desk, smoking a half-burned-down cigarette and looking at a surveillance photo of Mulder talking with Langly in the park. He pulls the cigarette out of his mouth and taps it leisurely in an ash-tray in front of him. Breyer stands facing him across the desk.

HITCHINGS
I wouldn't worry too much about Mulder. I think Morse may have been right about him after all, although I disagreed with him about most other things. The personal touch was a bad idea, but this zealous young agent could yet be of some use to us.

BREYER
I don't like him. He has made a habit of being inconvenient.

HITCHINGS
You don't like most people, Richard. His inconvenience, I might add, is exactly where his value may lie. Left to his own devices--monitored, of course--his pursuits could lead us to some interesting research possiblities. I've been watching him, and he finds things we never would have thought of. That liver man, for instance; without that troublesome thirty-year hibernation cycle, a man whocould manipulate his own limbs in that fashion could be extremely useful in our line of work.

BREYER
So you want me to leave him alone?

HITCHINGS
As long as he's out there we want him where we can control him. At the same time we can use him to test our defenses. He may learn some things we wouldn't otherwise want him to know, but so long as we're in charge of the information--and more importantly, the mis-information--he comes across, that shouldn't be a problem. We should be able to modulate his activities, and even use them to our advantage in the general public awareness campaign--without him even knowing it, if we move discreetly. It has a certain elegance to it, don't you think? Perhaps when this whole business with Agent Scully is over I'll speak to Skinner about those X-Files again.

Hitchings takes a thoughtful drag on his cigarette before continuing.

HITCHINGS
Miss Scully has become something of a problem for us as well; her recent experiences seem to have had a radicalizing effect. Our gray friend insists that no harm should come to her, and after all the trouble we went to in order to secure cooperation for this project I would hate to jeopardize that relationship. Perhaps it would be best to keep these two wild cards together. They do make an excellent team.

BREYER
They wouldn't trust it, if they just got their old jobs back.

HITCHINGS
I wouldn't want them to. The more paranoid they are, the better. (pause) It really is too bad about old Morse. I miss a good adversary.

BREYER
He went too far: he had to pay. He knew the stakes.

HITCHINGS
Yes, he did.

Hitchings delicately stubs out his cigarette.

HITCHINGS
Let's hope Agents Mulder and Scully know them, as well.

FADE OUT.

ACT FOUR

FADE IN:
38. INT: SCULLY'S HOSPITAL ROOM, DAY
The nurse escorts Mulder into the room. Scully is sitting up in bed with her knees pulled up, resting her notebook on her knees to write. Mulder has brought flowers, which he lays across her lap as he gives her a light hug.

MULDER
I thought some flowers might brighten the place up a bit.

SCULLY
Thanks, that was sweet.

NURSE
I'll get you something to put those in, hon.

The nurse is very pleased with Mulder for bringing the flowers, and gives Scully a grin behind his back as she goes out. Mulder takes off his coat and sits down.

MULDER
How are you holding up?

SCULLY
I'm OK. I think the surveillance people must be getting tired of me by now, though. I had the nurse bring me some rubber bands so I could shoot them at the camera, but they put a stop to that. I'm a pretty good shot. I'd try food next, but I don't want to tempt them to put me in restraints.

She mimes flicking food from a spoon at the camera, and they both smile. Scully leans over the side of the bed to reach into her bedside drawer, and brings out Mulder's tape.

SCULLY
Here's your Dead Kennedys tape back.

She hands him the tape.

MULDER
What did you think?

SCULLY
It was . . . interesting. It had an accident, though: my walkman munched it. (pause) Bring me something a little less adventurous next time. You worry me, Mulder.

He gets the message, and slides the tape into his suit jacket pocket. The nurse comes in with a vase half-full of water, takes the flowers from Scully and arranges them in the vase.

SCULLY
Thanks, Denise.

NURSE
Here you go, now. That's better. I'll leave you two alone--well, alone as you can be.

She shrugs in the direction of the camera, and leaves.

SCULLY
Denise tells me I've been talking in my sleep.

MULDER
Did she catch anything interesting?

SCULLY
She says she doesn't pay attention. I doubt my other listeners are so polite. (pause) She says I call your name a lot. She thinks it's cute.

MULDER
Those must be some dreams. Have you tried writing them down?

She wordlessly pulls out her notebook and hands it to him; he starts reading.

SCULLY
I don't think anyone else has read them. I take this and your journals with me when I leave the room, and I keep them in bed with me when I'm asleep. So far they seem to be letting me get away with it.

She looks away, tense and a little self-conscious, and lets him read in silence for a moment.

SCULLY
When you're through with that, can you help me with something?

MULDER
Sure, what?

SCULLY
You said you were taking up plumbing. My toilet's been acting funny. Could you take a look?

CUT TO:
39. INT: SCULLY'S BATHROOM
Mulder has taken off his suit jacket and rolled up his shirt sleeves. He lifts the lid off the toilet tank and sets it down, then pulls on the chain inside to keep the water flowing while they talk, to cover their voices. Scully is holding the notebooks against her chest.

SCULLY
The dreams may not mean anything. The stuff you read could easily come from what I already know.

MULDER
Have you remembered anything?

SCULLY
Not consciously. But that alien doctor or whatever he is--he feels familiar, and not just because he keeps shifting back and forth with you. He feels like someone I know, not like something I got from Steven Spielberg. If he's real, then somebody who's not from around here wants me to love this baby--and he's using my trust in you to persuade me.

Mulder has no reply for this. He knows he's mostly there to listen, and that Scully hasn't finished what she brought him in here to say. Scully takes a breath, and goes on.

SCULLY
I could try to induce a miscarriage, but I'd have to hurt myself, and I'm not sure what they'd do to me in response. Mulder, the scary part is, I don't think I could do it. The dreams are working: I don't want anything to happen to this baby.

Suddenly the guard walks in.

GUARD
Excuse me. You'll have to come out now.

Mulder releases the toilet chain, lifts up the tank top and puts it back where it belongs.

MULDER
I'm sorry, Scully, but I really don't see anything wrong in there.

SCULLY
Thanks for trying.

GUARD
If you have any problems with your room, ma'am, please report them right away.

SCULLY
Do you think you could do something about that camera? It doesn't seem to have an off switch.

The guard motions them out.

GUARD
Go back into the room now, please.

CUT TO:
40. INT: SCULLY'S HOSPITAL ROOM, DAY
The guard goes out, and Scully and Mulder sit down at the table. Mulder's suit jacket is draped over the foot of Scully's bed. Scully sets the notebooks down on the table.

SCULLY
So, you've read them. What do you think?

Mulder smiles.

MULDER
I never knew you felt that way about me, Scully.

SCULLY
I don't. My dreams do. There's a difference.

MULDER
Ah.

SCULLY
I seriously doubt that you dream about being married to me and facing imminent diaper duty as a result, so that settles it.

MULDER
Don't jump to conclusions, Scully.

Neither of them is really willing to pursue the subtext to this exchange any more overtly. Scully changes the subject (sort of).

SCULLY
You were right about Winnie the Pooh, Mulder. He was just what I needed. And your journals make good reading, too. (pause) You know, you've been making me smile since before I even saw you.

MULDER
What do you mean?

SCULLY
That first day when I came down to the X-Files office. I knocked on the door and you said something like, "FBI's Least Wanted". You must have been expecting me. I liked you right away. Of course, the chip on your shoulder nearly knocked me down once I actually went into the room and met you, but the sense of humor still helped.

MULDER
Believe it or not, I wanted you to like me. I needed an ally.

SCULLY
You were so cute in the beginning, trying so hard to win me over. Subtly, of course.

MULDER
Who was trying?

SCULLY
You know: asking me to go running with you in the middle of the night, wanting to buy me a drink, inviting me for a weekend in Atlantic City, that slumber party on our first case when you told me about your sister--and my personal favorite, "Do you think I'm spooky?" You were adorable, Mulder.

Mulder laughs, surprised.

MULDER
If I was so adorable, how come you'd never do anything with me?

SCULLY
Come on, Mulder. I was assigned to the X-Files to rein you in, to give them a reason to shut you down--and you knew it. I was in a bad enough position as it was. What kind of an agent would I be if I started out working with you as your date? It was impossible. Adorable, but impossible.

Mulder takes this in for a moment.

MULDER
You were pretty cute yourself, running into my motel room in Oregon and taking your clothes off to show me your mosquito bites. I hope you noticed I didn't do anything about that.

SCULLY
I noticed. You've always been absolutely trustworthy.

Mulder's not quite sure what to do with this, especially considering the circumstances (Scully pregnant with possibly alien baby; they're being watched and listened to).

MULDER
So I'm not cute any more?

SCULLY
Sure you are. But I'm your friend now. I think I've made a pretty good sidekick of the paranormal.

MULDER
No: that's not fair, to you or to me. You're a lot better than that. (pause) Please don't tell me I'm still just "Spooky" Mulder to you.

SCULLY
No, of course not. You know better than that.

Pause while they look at each other, weighing what each one has said here (and not said, and left unsaid).

MULDER
Maybe when this is all over we can go dancing or something.

Scully glances down at her tummy, and looks back at him with a rueful smile.

SCULLY
Sure, Mulder. I'd like that.

He gets up and stands over her, putting a hand to her face. She takes his other hand and stands up to face him. They both look up at the camera. Mulder turns and picks up his jacket from the end of the bed.

CUT TO:
41. INT: SURVEILLANCE ROOM
A man and a woman sit behind a bank of surveillance controls, monitoring Sculy's room, the hallway outside it, and various hospital corridors. Mulder's image is on the screen for Scully's room; he is holding his jacket and looking up directly into the camera lens.

MULDER [ONSCREEN]
I'm going to kiss her now, OK?

On the monitor screen we see Mulder toss his jacket up at the camera, and the screen goes black. The woman immediately starts punching buttons on the ocnsole, and barks at the man with her:

SURVEILLANCE CHIEF
I've got the mike. Radio the guard to get our eyes back!

FADE TO:
45. INT: SCULLY'S HOSPITAL ROOM, MORNING
Scully is sitting up in bed, reading a JAMA. The guard opens the door and Breyer comes into the room with one other man, who is pushing an empty wheelchair. The guard closes the door behind them, staying outside in the hallway, and Breyer approaches Scully's bed.

BREYER
Get up, Agent Scully. It's time to go.

Scully looks at him warily and sets down the JAMA. She leans over, starting to heave herself out of the bed--and turns the motion into a head-butt into Breyer's stomach, throwing him back against the wall behind him. Scully knees Breyer viciously in the groin and lands several efficient punches to the gut before the other man manages to pin her arms back and handcuff her. He hauls her back and she struggles against him, glaring furiously at the recovering Breyer.

SCULLY
Who are you?! Where are you taking me?

BREYER
You don't need to know that.

SCULLY
Don't you want to rough me up a little first? You look like the type who enjoys hitting pregnant women.

Breyer comes up to her, but he doesn't do anything yet.

SCULLY
I'm not going quietly. You're going to have to do something, you bastard! And what happens to me, happens to this baby.

She's so mad she could spit--and she does so, hitting Breyer directly under the left eye. Breyer takes out a handkerchief and wipes at his cheek, then carefully puts the handkerchief back in his coat pocket. That done, he clenches his hands palm together and slams a precise back-handed blow to the left side of Scully's face, which stuns her enough for the other man to drop her into the wheelchair and strap her in, her arms still handcuffed behind her.

BREYER
Get her out of here.

The other man wheels Scully toward the door; she starts to laugh. Breyer opens the door and follows them out.

FADE TO:
46. INT: FBI HEADQUARTERS, MULDER'S DESK
The door is standing open, and the bag and box that Mulder brought to Scully in the hospital are sitting on Mulder's desk. Mulder enters, sees them, and quickly comes over to examine the contents. The notebooks are there, but the pages containing Scully's descriptions of her dreams have been torn out. Underneath them is an unmarked manila envelope.

Mulder opens the envelope and shakes out the contents into his hand: two pictures, and a folded piece of paper. FOCUS on the first picture: the surveillance photo of Mulder and Langly in the park. Mulder moves it aside to FOCUS on the next picture: a Polaroid shot of Scully strapped onto a fold-down bunk, possibly inside a truck or ambulance; her left eye is swollen shut, and a nasty bruise flares across the left side of her face. Mulder drops the pictures onto the desk and opens the folded piece of paper. FOCUS on the laser-printed message, which reads: "No more hospital visits. Be a good boy and do only what the FBI tells you to do. We'll be in touch."

Mulder crumples the paper in his hand and half-falls into the chair, dropping the crumpled note and scooping up Scully's picture from the desktop. He runs a hand over his face.

FADE TO:
47. INT: MULDER'S APARTMENT, NIGHT
Mulder is lying awake in the dark on his sofa. The phone rings, and after a moment he deicdes to answer it.

MULDER
Yeah.

SCULLY (V.O.)
Mulder, it's me.

Mulder instantly sits up and turns on the lamp next to the sofa.

MULDER
Dana--where are you?

SCULLY (V.O.)
I don't know. I was in a truck for several hours. Did they send you that picture?

MULDER
Yeah.

SCULLY (V.O.)
Don't worry, I gave as good as I got. Now listen, I have a prepared statement that I'm supposed to read to you. Are you ready? (she reads:) "Dana Scully is being treated with the greatest of care. She will be held for treatment and observation in a secure and comfortable environment. There need be no concern for her safety or well-being. When her role in this project is complete, Agent Scully will be returned to her career with the FBI, pending certain guarantees of silence on this matter. FBI Agent Fox Mulder is hereby instructed to refrain from any effort to locate or communicate with Agent Scully. No such efforts will be tolerated. Authorized communications will remain discretionary." (pause) That's it.

MULDER
Is it the truth?

SCULLY (V.O.)
As far as I know. I'm all right for now, in spite of how things look in that picture. He only hit me once, and I have to admit I provoked him. (pause) Take care of yourself, Mulder. Don't get into any trouble. I want something to look forward to after all this. We're going dancing, remember?

Mulder smiles a little, but can't quite manage it.

MULDER
I'll miss you while you're away, Scully.

SCULLY (V.O.)
You'll get over it. Just wait, any day now you'll meet some mysterious mutant woman and forget all about me.